Whale Gate

Once an entrance to Aldo Giusti’s
many-acred field of brussel sprouts. Now
the twelve-foot metal gate’s chained shut, holds
back the headland fennel, canes
clawing damp air, rising lumpy with snails
climbing in slow, mute panic.

It couldn’t open anyway, without the chain:
bumpy ox-tongue thistle
and frilly poison hemlock clog
the gate’s swing-arc. On its face, wrought
in iron, a huge blue whale painted white, not blue
—rusted iron spoiling through,
flaking. From his blowhole he spews
an iron fountain, dribbling rust, raises
his curly fluke high into stylized waves
that surge along the upper rail, his tiny
dorsal fin submerged below them.

His throat grooves are
what I like best, rendered by the welder
like a Caddy Eldorado’s grille—rods of iron
parallel, criss-crossed by plowed crop rows
you see between them. Like me,
the whale heads seaward, ocean
half a mile out the gravel track.
An information plaque, pulpit-wide, erupts
right there in hemlock, pedestal flecked
with delicate wild-radish flowers.
It tells, though, about agriculture, how Italians
brought the artichokes, how brussel sprouts
began in 1909, now the coast’s
most lucrative crop.

What I wanted, of course,
was a whale story, perhaps a story
of a particular whale who liked
to breach, whose lobtailing fluke
inspired the gate, how he filtered krill
through his comb-like baleen and didn’t
need teeth, how he was warm-blooded
and had a four-chambered heart.